THURSDAY AFTERNOON SYMPHONY

Thu 4 Apr 1.30pm

EMIRATES METRO SERIES

Fri 5 Apr 8pm

GREAT CLASSICS

Sat 6 Apr 2pm

MONDAYS @ 7

Mon 8 Apr 7pm

BAROQUE GRANDEURHandel’s Water Music

Welco me to the Em i rates Metro Ser i es

Barry Brown

Em i rates’ V ice Pres ident Austra la s i a

Emirates is proud to continue its decade-long principal partnership with the Sydney Symphony into 2013, with each of us providing world-class music and travel experiences for Sydneysiders and all Australians.

The Sydney Symphony brings together the fi nest classical music talents, so it is only fi tting that Emirates, which combines best-in-class products for a memorable fl ying experience, is principal partner to the orchestra.

Like the Sydney Symphony, Emirates specialises in world-class entertainment. With up to 1400 channels to choose from on 21 fl ights per week from Sydney to Dubai, including a daily A380 service, Emirates infl ight entertainment offering has been voted best in class by Skytrax for the eighth year running.

We strive to grow and evolve so that our customers enjoy a superior fl ying experience. The same can be said of our expanding international route network, which now boasts more than 30 European destinations, all via one convenient stop in Dubai.

Similarly, the Sydney Symphony has grown into a truly outstanding ensemble, performing around 200 concerts a year to a combined annual audience of more than 350,000.

Our partnership with the Sydney Symphony is about connecting with you – our customers.

We share and support your interests and are dedicated to the growth of arts and culture in Australia. This partnership allows us to showcase the Emirates brand to music lovers around the country and the world, signifying our long-term commitment to Australia.

We are delighted to continue our support of the Sydney Symphony and encourage you to enjoy all the performances you can in 2013.

Friday’s performance will be recorded for later broadcast across Australia on ABC Classic FM.

Pre-concert talk by Peter Czornyj in conversation with the conductor in the Northern Foyer, 45 minutes before each performance. Visit bit.ly/SSOspeakerbios for speaker biographies.

Estimated durations: 14 minutes, 24 minutes, 20-minute interval, 25 minutes, 9 minutesThe concert will conclude at approximately 3.15pm (Thursday), 9.45pm (Friday), 3.45pm (Saturday) and 8.45pm (Monday).

Baroque Grandeur:Handel’s Water MusicReinhard Goebel CONDUCTOR

Mirijam Contzen VIOLIN

Johann Sebastian Bach (1685–1750)Sinfonia in Dcompiled by Reinhard GoebelI. Sinfonia in D, BWV 1045II. Adagio (No.2 from the Easter Oratorio, BVW 249)III. Sinfonia (No.1 from the Easter Oratorio)Mirijam Contzen violin

Georg Philipp Telemann (1681–1767)Concerto-Suite in F for violin and orchestra, TWV 51:F4PrestoCorsicana (Un poco grave)AllegrezzaScherzoGiguePolaccaMinuettoMirijam Contzen violin

INTERVAL

George Frideric Handel (1685–1759)Water MusicSuite No.2 in D, HWV 349 Suite No.3 in G, HWV 350

See page 15 for the list of movements

Pierre-Montan Berton (1727–1780)Nouvelle Chaconne in E major

2013 season thursday afternoon symphonyThursday 4 April | 1.30pmemirates metro seriesFriday 5 April | 8pmgreat classicsSaturday 6 April | 2pmmondays @ 7Monday 8 April | 7pmSydney Opera House Concert Hall

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Detail from ‘The River Thames with St Paul’s Cathedral on Lord Mayor’s Day’ (c.1747–48) by Canaletto.

sydney symphony 7

INTRODUCTION

Baroque GrandeurAt some point in the 20th century it seemed that symphony orchestras had stopped playing baroq ue music – a consequence of the rise of the early music movement and changing tastes and expectations. But the circle is turning. More musicians in orchestras – the Sydney Symphony included – have a background in period instrument performance. And since the 1980s, more early music conductors have been working with symphony orchestras. That specialist expertise is key. In fact, says Reinhard Goebel, ‘modern orchestras’ performing baroque music is ‘no longer the problem that it was 30 years ago – the players do not need to be specialists, but the conductors have to be!’

The result is concerts like this one, with one of the world’s leading exponents of early music in a program that shows just how versatile – and stylish – the Sydney Symphony can be.

This program features three German-born composers – Bach, Handel and Telemann – but the overall fl avour is cosmopolitan. These men developed their own versions of the famous ‘mixed style’, taking the best of the Italian and French styles and adding German technique and gravitas.

These composers wrote for very diff erent audiences and artistic contexts, says Goebel. ‘Bach represents the Lutheran protestant spirit, Telemann gives his Hamburg audience the delicacy of French inventions, and Handel – composing in London for a German-born and non-English-speaking king – imports the Roman style of opera and instrumental music.’

The program ends with a grand chaconne by a French composer whose name will likely be new to you: Pierre-Montan Berton. Goebel ‘collects’ chaconnes and admits to being as crazy about them as listeners and composers in the 18th century were. (The chaconne obsession extends into our own time: John Adams includes one in his violin concerto, for example.) A chaconne makes for compelling listening, and in the Berton you’ll be able to hear the admirable manner in which he stretches the music into a series of constantly changing aff ects: ‘festivity, clarity, sweetness, forcefulness and sadness’. Which could almost be a description for this concert of ‘baroque grandeur’!

Turn to page 31 to read Bravo! – musician profi les, articles and news from the orchestra, including the popular ‘Ask a Musician’ spot. There are nine issues through the year, also available at sydneysymphony.com/bravo

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ABOUT THE MUSIC

Keynotes

JS BACH

Born Eisenach, 1685Died Leipzig, 1750

Bach’s career has been defined by three major periods of employment. In 1708, he became court organist and then conductor of the orchestra in Weimar. But when he was passed over for the post of Kapellmeister, it was time to move on, and in 1717 Prince Leopold of Anhalt-Cöthen offered him the Kapellmeister post in his own court. It wasn’t an easy departure: the Duke of Weimar briefly placed him under arrest!

In Cöthen, where the young prince ‘loved and understood music’ and the orchestra was a particularly fine one, Bach composed much instrumental music, including the Brandenburg concertos. In 1722 he applied for the post of cantor at the school attached to the Thomas Church in Leipzig. He wasn’t the town council’s first choice – they preferred Telemann – but he won the job and spent the remaining 27 years of his life in Leipzig: teaching, performing, organising the musical life of the church and composing his great series of church cantatas.

Johann Sebastian BachSinfonia in Dcompiled by Reinhard Goebel

I. Sinfonia in D, BWV 1045II. Adagio (No.2 from the Easter Oratorio, BWV 249)III. Sinfonia (No.1 from the Easter Oratorio)

Mirijam Contzen violin

Buried in the Bach catalogue is an orphan. It’s a sinfonia for an unknown church cantata, but its catalogue number – which in Bach reveals the category or genre of the work rather than its chronology – places it in the company of the Triple Concerto in A minor (BWV 1044) and the Brandenburg concertos (1046–51). The compiler of the Bach Werke Verzeichnis recognised that this sinfonia is eff ectively a violin concerto.

To complicate matters further, the words across the top of the original manuscript label it as the Sinfonia for a ‘Concerto’ – which for Bach could also mean a church cantata – for 4 voices, 3 trumpets, timpani, 2 oboes, concertante violin, 2 violins, viola and continuo.

With an orchestral ensemble like that Bach was clearly aiming for a brilliant eff ect. Not only is there a virtuoso part for the solo violin, but the trumpet parts (which occupy the top three lines of music in the score) take the music into the stratosphere.

One of the things that makes this piece important is the way it shows Bach at work. The music dates from his last years (c.1742) but the core of the material (the orchestral

Autograph score of the Sinfonia in D, BWV 1045 – unsigned, but written in Bach’s hand

sydney symphony 9

strings and continuo parts as well as the solo violin part) was written earlier. These parts are the bottom fi ve lines in the score, and if you look at the autograph on page 8 you’ll see how they are very clear and clean – adopting the fi rm handwriting that Bach used when copying from another source.

In reusing this music, says Goebel, Bach has added two oboe parts (two lines immediately above the strings) and, as a last step, the three trumpets and timpani. All this is visible in the manuscript, with the newer parts notated in the light, almost ‘careless’ hand that Bach would use when composing directly onto paper. There’s a precedent for this kind of musical recycling: Bach added wind parts to the strings-only third Brandenburg concerto when he needed a sinfonia for another church cantata, ‘Ich liebe den Höchsten’, BWV 174.

Not only is the Sinfonia BWV 1045 thrilling to play, it’s also interesting and important – worth hearing. But its fragmentary nature begs for context – extra music that will turn it into a full-fl edged concert piece. ‘I always put it with the two movements from the Easter Oratorio,’ says Goebel, ‘which are not familiar to most non-German audiences.’

These movements introduce a further example of Bach’s recycling – he must have really liked the two opening movements from the Easter Oratorio (1735). They were possibly retrieved from a concerto he’d composed in Cöthen. Then, as the cantata we recognise from the Easter Oratorio, the music had three diff erent outings in the years 1725–1726, celebrating aristocratic birthdays as easily as the joy of Easter Sunday (with diff erent words, of course!).

In the centre of this compiled Sinfonia is a jewel of an adagio movement – a poignant oboe line supported by a simple, sombre accompaniment from the strings. It’s a reminder that the Easter story involves uncertainty and melancholy. But the overall mood is the brilliance that comes with trumpets and drums and their favourite key of D major. And while our ‘Sinfonia in D’ is a concoction, it’s also exactly the kind of thing Bach might have done himself.

YVONNE FRINDLESYDNEY SYMPHONY © 2013

In addition to the featured violin part, this Sinfonia calls for flute, two oboes, two bassoons and three trumpets; timpani, keyboard continuo and strings.

ALL CONCERTS AT THE SYDNEY OPERA HOUSEBOOK NOW – TICKETS FROM $35*SYDNEYSYMPHONY.COM 8215 4600 MON-FRI 9AM-5PM

*BOOKING FEE OF $7.50-$8.50 MAY APPLY.

SHOSTAKOVICH Jazz Suite No.1

GERSHWIN Piano Concerto in F

PROKOFIEV Symphony No.5

James Gaffigan conductor

Jean-Yves Thibaudet piano

Pianist Jean-Yves Thibaudet brings impeccable f lair to his performances and you’ ll want to hear him in George Gershwin’s jazz-inf lected piano concerto.

Thu 5 Dec 1.30pm . Fri 6 Dec 8pm Sat 7 Dec 2pm . Mon 9 Dec 7pm

Jazz Inspirations

THIBAUDET PLAYS GERSHWIN

sydney symphony 11

Keynotes

TELEMANN

Born Magdeburg, 1681Died Hamburg, 1767

During his lifetime, Telemann was more famous than Bach or Handel, more prolific (by his third autobiography he’d lost count of his own compositions) and more widely published. A contemporary described him as the ‘greatest figure in musical history’.

Despite being able to play violin, flute, zither and keyboard, Telemann was not guided towards a musical career, and when he embarked on his first opera at the age of 12, his widowed mother took fright. He was packed off to the country in an attempt to distract him from music (he wrote more) and then to Leipzig where his law studies were meant to keep him fully occupied (he founded an orchestra).

Telemann’s first musical post was in Poland but he may as well as have been in Paris, given his employer’s taste for French music. Telemann himself stayed more or less within the confines of Germany – he did visit Paris for several months in 1737, but he never travelled to Italy or England as Handel had done. His music, on the other hand, was cosmopolitan, and he kept abreast of the trends – embracing the popular while avoiding anything cheap or trivial.

Georg Philipp TelemannConcerto-Suite in F for violin and orchestra, TWV 51:F4PrestoCorsicana (Un poco grave)AllegrezzaScherzoGiguePolaccaMinuetto

Mirijam Contzen violin

In his day, Georg Philipp Telemann was one of the most respected and revered composers in Central Europe. He was notably the Leipzig authorities’ fi rst choice for the position of Thomaskantor, when this became available in 1722, an off er he eventually turned down in favour of remaining in what was ultimately the more prestigious position of Kantor of the Johanneum School and music director of the city’s fi ve main churches in the Hanseatic city-state of Hamburg. The Leipzig position, as we know, went to Johann Sebastian Bach. Telemann’s creativity and entrepreneurism, however, fl ourished in Hamburg, and he exerted wide infl uence on the development of public concert life, and the next generation of performers and composers.

During a long lifetime rich in musical experience, Telemann rarely travelled beyond the boundaries of his work. Yet his music displays a true cosmopolitan character, as he was able to gather all the musical inspiration and assimilate diverse infl uences from encounters with Italian, French or Bohemian musicians and composers resident at court and enriching cultural activities of the merchant towns and the free Imperial cities of the time.

For example, while active at the court in Sorau (now Z• ary, Poland) as Capellmeister between 1705 and 1708 to Count Erdmann of Promnitz, Telemann was required to compose French Ouvertures – what we now refer to as orchestral suites, starting with a French-style overture – and to this end he studied closely the works of Lully, Campra and others. ‘I applied myself,’ Telemann writes in his autobiography of 1739, ‘almost entirely to this style, so that in two years I wrote as many as 200 Ouvertures.’ During the same period, on a six-month excursion to the court’s Upper Silesian estate of Pless (now Pszcyna), as well as during visits to Cracow, he encountered ‘Polish and Hanak [Moravian] folk music in all its true and barbaric beauty’. He continues

ABOUT THE MUSIC

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in his autobiography: ‘I have written grand concertos and trios in this style, which I then gave an Italian dress, adagio alternating with allegro.’

The 18th-century writer and literary historian Johann Christoph Gottsched summed up Telemann’s personality in 1728 in the following words: ‘At times he follows the Italian, at other times the French and frequently a mixed style (vermischter Geschmack) in the composition of his pieces.’ In this, as in many other ways, Telemann was a very important personality linking late Baroque and early Classical compositional styles.

The Suite in F major is in essence a concerto-suite (Suiten-Konzert), combining elements of both these genres. Style and textures may be familiar from the works of Telemann’s contemporaries, especially Johann David Heinichen (Dresden court Kapellmeister from 1717) and Johann Friedrich Fasch (Kapellmeister at Zerbst from 1722), and are typical of a distinctive German breed of orchestral suite. The autograph manuscript is preserved in Dresden, which seems to imply that the work was written for the court orchestra there, led by its legendary ‘Concertmeister’, Johann Georg Pisendel, and the inventive and galant-style

An engraved portrait of Telemann by Georg Lichtensteger (c.1745)

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melodic fi guration points to a composition written in the 1730s, if not later.

The rich and colourful instrumentation of Telemann’s Concerto-Suite, calling for solo violin, pairs of oboes, fl utes and horns (trombe da caccia), with timpani and strings, is indeed characteristic of the concertos ‘per molti strumenti’, which many composers dedicated to the Dresden orchestra, in recognition of its impressive virtuosity. The superimposed idioms of the violin concerto and the suite, with quite advanced concertante writing for various groups of wind instruments, is absolutely characteristic of much ensemble music in Dresden in the 18th century.

Telemann’s musical language is a fusion of Italianate concertante writing (see the Presto and Scherzo movements) and character pieces typical of the French orchestral suite. Yet the accent is clearly a central European one, with a sedately composed folk-like dance (Corsicana) alternating with the lively Allegrezza highlighting the wind instruments and the idiosyncratically rustic Polacca standing alongside a vivacious gigue, each displaying a remarkable degree of harmonic and melodic sophistication. The Concerto-Suite closes with a galant minuet that shows its composer standing very much on the threshold of a new era, of the Classical period.

PETER CZORNYJ © 2013Author of a dissertation on Telemann, Director of the Archiv Produktion label (1992–1998), Director of Artistic Planning for the Sydney Symphony

Telemann’s Concerto-Suite in F calls for solo violin; pairs of flutes, oboes and horns; timpani, strings and basso continuo.

This is the Sydney Symphony’s first performance of the suite.

‘Mixed taste’

‘What I have accomplished with respect to musical style is well known,’ claimed Telemann in 1729. ‘First came the Polish style, followed by the French, church, chamber and operatic styles, and [fi nally] the Italian style, which currently occupies me more than the others do.’ At one point Telemann claimed that he had ‘clothed’ the Polish style ‘in an Italian dress.’ At another he was writing concertos for pairs of treble instruments that ‘smelled of France.’ Combining the best of French and Italian style, Telemann became the leader in a new cosmopolitan style known as German ‘mixed taste.’

…many composers dedicated concertos to the Dresden orchestra, in recognition of its impressive virtuosity.

sydney symphony 15

Keynotes

HANDEL

Born Halle, 1685Died London, 1759

1685 was a good year for music, with the births of JS Bach, Domenico Scarlatti and George Frideric Handel (or Georg Friedrich Händel, as he is known in Germany). Handel’s father intended him to study law, forcing him to practise secretly on a smuggled clavichord. Finally he was given permission to study performance and composition, and became cathedral organist at Halle the year he began his university studies.

Handel travelled extensively, developing a style based on a distinctive mix of Italian, German, and French styles. At 25 he was appointed Kapellmeister to the Elector of Hanover. He immediately deferred his appointment with a leave of absence in London, a visit that lasted eight months and won him great success with his opera, Rinaldo. Soon after his return to Hanover, Handel was again given permission to visit England, this time with the injunction to return ‘within reasonable time’. In the end, Handel, lured by new opportunities in London, outstayed his leave but not his welcome. He was still in England in 1714 when his employer assumed the English throne as George I.

George Frideric HandelWater Music Suite II in D, HWV 349 Suite III in G, HWV 350

Allegro – (Suite II No.11)Alla Hornpipe (II:12)Minuet (III:16)Rigaudon – Trio (III:17, 18)Lentement (II:14)Bourrée (II:15)Menuet – Trio (III:19, 20)Gigues (III:21, 22)Menuet (Coro) (II:13)

Account of a River Excursion on the Thames, featuring music by Mr Handel…

Friedrich Bonet, Brandenburg’s diplomatic resident in London during the reign of George I, writes of a river excursion on 17 July 1717:

About eight in the evening the King repaired to his barge…Next to the King’s barge was that of the musicians, about 50 in number, who played on all kinds of instruments, to wit trumpets, horns, oboes, bassoons, German fl utes, French fl utes, violins and basses; but there were no singers. The music had been composed specially by the famous Handel, a native of Halle, and His Majesty’s principal Court Composer. His Majesty’s approval of it was so great that he caused it to be played three times in all, twice before and once after supper, even though each performance lasted an hour. The evening was as fi ne as could be desired for this occasion and the number of barges and boats full of people wanting to listen was beyond counting. In order to make this entertainment the more exquisite, Madam de Kilmanseck had arranged a choice supper at the late Lord Ranelagh’s villa on the river at Chelsea, where the King went at one in the morning. He left at three o’clock and returned to St James’ about half past four. The concert cost Baron Kilmanseck £150 for the musicians alone.

The Celebrated Water Musick…

Handel’s Water Music was commissioned for this royal water party in 1717. Such events had been common in London since the summer of 1715, in an attempt to make the members of the new Hanoverian dynasty both visible and popular. George I disliked the ‘pageantry and splendour’ of monarchy, but found the water party the least irksome form of royal progress. He was also a genuine lover of Handel’s music, and in 1717 asked his brother-in-law,

16 sydney symphony

Baron Kielmansegge, to arrange the by-now annual event. Kielmansegge, an old supporter of Handel’s, commissioned the music and stage-managed the proceedings, which were described in detail in the press two days later. This was 18th-century public relations in action, and Handel’s music, the only non-ephemeral aspect of the evening, was crucial to its success.

In particular, the Water Music has parallels in the outdoor music of the French court, such as the ‘symphonies’ of composers like Lalande and Mouret, composed for royal water parties, hunting excursions and the like at Versailles. The English court followed the French, and Handel’s Water Music is French in externals – especially in its dance movements: minuets, bourrées and gavottes. But the musical language, as opposed to the form, is typical of Handel – a blend of German and Italian musical elements, which has acquired an English ‘accent’.

Three suites or single work?

No defi nitive, autograph score of Handel’s complete Water Music survives – it’s possible none was created, but rather a collection of movements (both new and existing) was assembled for the occasion. And it’s impossible to know for sure exactly which movements the king heard, or in which sequence.

Another river excursion

John Mainwaring reports in his Memoirs of the Life of the Late George Frideric Handel (1760) of an excursion between Whitehall and Limehouse on 22 August 1715, during which a ‘water music’ was played on the return trip. This is the supposed occasion of the reconciliation between King George I and his former court director of music from Hanover, which is now considered legendary.

sydney symphony 17

The structure of the Water Music has been obscured for generations of music-lovers for two reasons. First, there was the sheer popularity of selections of its most famous pieces, often in infl ated orchestral versions. Second, until relatively recently it was believed that the work fell ‘clearly’ into three suites, distinguished by their instrumentation and prevailing keys: the horn suite (in F), the trumpet suite (in D) and the fl ute suite (in G).

This view was undermined with the discovery in 2004 of a complete manuscript score that had been copied within 18 months of the fi rst performance. Comparison of this score with sources from the 1730s and 1740s, suggests that the conveniently grouped suites had been commissioned later by patrons who might reasonably prefer to have suites that called for similar scoring, and that Handel himself may have had a hand in the reorganisation of the music.

As a result of this musicological detective work, the 2008 Bärenreiter edition (prepared by Terence Best) presents the movements of the Water Music in the original order as set out in the earliest sources. The suite known as No.1 (the ‘horn suite’ with its French overture) begins the Water Music in the familiar sequence, but the movements of suites 2 and 3 are mixed together – as in this performance – to provide ‘pleasing contrasts of key, mood and scoring’. In particular, the whole work concludes with the ‘trumpet minuet’ from the suite in D major, an especially brilliant key. The result is a conception of the Water Music as a single, coherent composition, even when it’s performed in excerpt.

Listening guide

The early sources for the Water Music don’t always identify a tempo indication or dance type for each movement. Even so, the 18th-century conventions of metre, dance rhythms and melodic gestures were so codifi ed that it’s relatively easy to match the movements to ‘types’. With the exception of the opening movement (its gestures indicating a fast tempo or Allegro) and the movement marked Lentement (slowly), each movement in this concert’s selection is recognisable as a dance. Handel gives us minuets, rigaudons, gigues, a bourrée and, in a nod to England, a hornpipe.

In this concert we begin with the fi rst movement from Suite No.2 – a ceremonious Allegro with horns and trumpets in dialogue, which must have sounded splendid on the water. The pairs of instruments expand upon simple fanfare patterns, each pair accompanied, in true military spirit, by

…a blend of German and Italian musical elements, which has acquired an English ‘accent’.

18 sydney symphony

its own camp: oboes, violins and violas siding with the trumpets; bassoon and the basso continuo instruments lending their support to the horns. A noisy truce is declared when the whole orchestra joins in for what appears to be the conclusion. But expectations are disrupted by the addition of a few bars of slow, unadorned music – an invitation to improvise that leaves the music poised for the next movement.

That movement – ‘in the manner of a hornpipe’ – is possibly the most famous moment from the Water Music. Next there is a graceful minuet, which introduces the gentle colouring of Suite No.3 with a fl ute on the top line. Its unusual emphasis on the second beat of every other bar gives it the fl avour of another dance, the sarabande.

The next pair of movements – a rigaudon and its contrasting trio – continues with the sound of the fl ute and strings. The dance is lively and sprightly; variety is provided by the shift from major to minor mood. The elegant Lentement movement has the character of a louré – a kind of slow, lilting ‘jig’ and signals a return to the trumpet and horn sounds of Suite No.2. This is followed by a vigorous and triumphant bourrée, derived from a chorus in Handel’s oratorio La Resurrezione (Rome, 1708). The second minuet in the suite features the strings, introducing the sweet sound of a piccolo recorder in the wistful trio before the minuet returns.

The mood makes an abrupt shift with a pair of alternating gigues (or jigs). Here Handel makes a witty play of contrasts between the sound of high piccolo in the fi rst gigue and low strings and bassoon in the second. The rousing, fi nal movement is one of the few with a marking: ‘Menuet (Coro)’ suggests the grand style of a fi nal chorus in an opera. We may well wonder how this festive music was received by the neighbouring residents on the royal party’s return from Chelsea at 4.30 in the morning!

PROGRAM NOTES ADAPTED FROM NOTES BY DAVID GARRETT, ROBERT FORGACS AND YVONNE FRINDLESYDNEY SYMPHONY © 2013

The movements from Suite No.2 (HWV 349) call for pairs of oboes, bassoons, horns and trumpets. Suite No.3 (HWV 350) calls for flute (doubling piccolo or a high recorder), pairs of oboes and bassoon. Both suites have string orchestra and continuo as their foundation.

The Sydney Symphony’s most recent performance of music from Handel’s Water Music in a subscription concert was in 2002, when John Harding directed Suite No.1 for the Mozart series. Suite No.2 was heard in 1998 in concerts conducted by Nicholas McGegan.

Handel at the keyboard: the Chandos Portrait, formerly attributed to James Thornhill, c.1720.

sydney symphony 19

Pierre-Montan BertonNouvelle Chaconne in E major

Whenever Louis XV of France wanted to speak to Pierre-Montan Berton he would call for ‘Monsieur de la Chaconne’. Berton – composer, master of the king’s music, conductor and administrator of the Paris Opera – had become famous for the chaconne he’d composed for the 1762 revival of Campra and Desmarets’ opera Iphigénie en Tauride. It was so popular that harpsichordists seized on it to enrich their repertoire and there are reports of it turning up in other opera-ballets: a revival of Les Elements (Destouches and Delalande) and even Rameau’s Castor et Pollux and Dardanus.

Like another French composer, Paul Dukas, Berton would appear to have acquired a one-work reputation. Except that Reinhard Goebel has unearthed two chaconnes by Berton, both called ‘Nouvelle Chaconne’. One you may have heard on recording – a chaconne in E minor – the other, in E major, we perform in this concert. No one knows for sure which, if either, is the one referred to in the histories and biographies. ‘It is a riddle,’ says Goebel.

What’s certain is that Berton has left us with a highly eff ective chaconne in the French dramatic tradition. A chaconne in an 18th-century opera or ballet would provide a grand orchestral fi nale to show off the star dancers in the company. You could count on it to be in triple time and to adopt a moderately moving tempo – lively but still majestic. Traditional chaconnes might feature an ‘obstinately’ repeating bass line, but by the 1760s this particular constraint had fallen away. Instead, a compelling regularity of phrasing and repetition of melodic ideas gave such pieces their ‘chaconne’ character. Contrast would be built in through melodic variation and changes of colour.

Berton’s Chaconne in E major is in three parts, distinguished by changes of tonality (setting out in E major, moving to E minor then returning to the major) and the contrasting sounds of the orchestra. It begins in the strings with fl utes and horns providing a pastoral character. In the central section the fl ute sound is dominant and the darker, moodier key lends itself to rhetorical gestures. When the music returns to E major, the trumpet and drums make their fi rst entrance, bringing the orchestra to its full complement and adding an air of brilliance to the conclusion.

YVONNE FRINDLESYDNEY SYMPHONY © 2013

Berton’s New Chaconne in E major calls for pairs of flutes, oboes, bassoons and horns, trumpet and drums (timpani) and strings with continuo.

This is the first Australian performance of the chaconne.

Keynotes

BERTON

Born Maubert-Fontaine, 1727Died Paris, 1780

Although a forgotten name now, Pierre-Montan Berton was still regarded as a ‘celebrated French musician’ half a century after his death. He earned his fame through his work at the Académie Royale de Musique (now the Paris Opera) where he was director. He was a brilliant administrator as well as an outstanding conductor who transformed the Paris Opera orchestra into one of Europe’s finest. Berton was also admired for his work as a musical editor: he had a gift for bringing old operas up to date to suit contemporary taste in an era that had little time for museum pieces. This work – altering, revising the orchestral parts and writing additional material – took precedence over original composing, and the one piece for which he became famous was the so-called ‘Chaconne de Berton’, which we may or may not be playing in this concert!

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MORE MUSIC

GOEBEL CONDUCTS BACH

The Archiv Produktion catalogue is yielding some attractive collector’s editions, such as the 5-CD boxed set Bach Bachianas: Music by the Bach Family. Reinhard Goebel conducts Musica Antiqua Cologne and the Rheinische Kantorei in cantatas, concertos and orchestral music by JS Bach and his sons. The Sinfonia from the Easter Oratorio is among the riches.ARCHIV PRODUKTION (DG) 479 0377

WATER MUSIC

Handel’s Water Music suites are among the top of the pops in baroque music and there are close on a hundred recordings in the current catalogue. For a modern but agile sound, try the conductorless Orpheus Chamber Orchestra in an all-hits program of the three Water Music suites and the Music for the Royal Fireworks – Handel on show for a London audience.DEUTSCHE GRAMMOPHON 474 1682

There isn’t a Musica Antiqua Cologne recording to recommend, so for a period instrument performance of the Water Music and Royal Fireworks (and more) we’ll point you in the direction of Christopher Hogwood and the Academy of Ancient Music.L’OISEAU-LYRE 455 7092

Or among more recent releases, a reissue of the recording by the English Concert and Trevor Pinnock.ARCHIV PRODUKTION (DG) 477 9987

Handel wasn’t the only composer to write water music – the ‘Wassermusik’ title was assigned to a Telemann orchestral suite, also known as Hamburger Ebb’ und Fluth (TWV 55:C3). In it we hear Neptune in love, water nymphs at play, a storm, zephyr breezes, ‘jolly boat people’ and a jig ‘Ebb and fl ow’. Reinhard Goebel’s recording with Musica Antiqua Cologne pairs the Wassermusik with three Telemann concertos.ARCHIV PRODUKTION (DG) 413 7882

TELEMANN

The Telemann concerto-suite in this concert can be diffi cult to track down – if you’re really keen you may need to invest in the 8-CD collection Musik am Dresdner Hof (Music at the Dresden Court). Ludwig Güttler conducts the Virtuosi Saxoniae and Thüringen Academy Choir in music by Vivaldi, Heinichen, Fasch, Graun, Pisendel, Hasse, Zelenka, CPE Bach, Fux and others. Roland Straumer is the soloist in the Telemann concerto-suite.BERLIN CLASSICS 8416

Or go to iTunes for an earlier release of some of the same repertoire from these same performers: Pisendel and Telemann: Sinfonia e Concerti.itunes.apple.com/au/album/pisendel-telemann-sinfonia/id431053692Another collector’s edition worth seeking out is Telemann Tafelmusik – all of Telemann’s ‘table’ or

banquet music over 4 CDs in performances by Musica Antiqua Cologne. This is music you can play at your next dinner party without guilt – that’s what it was written for. But don’t be surprised if the brilliant performances of these suites, chamber pieces and concertos don’t distract you from your conversation!ARCHIV PRODUKTION (DG) 477 8714

BERTON

Reinhard Goebel’s recording of Berton’s Chaconne in E minor (1762) appears on a disc called Mozart in Paris. Together with the Bavarian Chamber Philharmonic and violinist Yura Lee, Goebel performs music that Mozart might have heard on his journeys to Paris: a grand overture by Johann Christian Bach, a symphony by Simon Leduc, a violin concerto by the Chevalier de Saint-Georges and the Berton. Mozart’s own Paris Symphony crowns the recording.OEHMS 705

MIRIJAM CONTZEN

If you enjoyed the Contzen–Goebel partnership in this concert, look for their recording with the Bavarian Chamber Philharmonic, following in the same theme as Mozart in Paris, but this time sending Mozart to Italy (Mozart in Italien). One of Mozart’s sinfonias shares the program with music and composers associated with the years he spent in Italy: Johann Adolf Hasse, Thomas Linley, Venanzio Rauzzini and Franz Lamotte.OEHMS 753

Broadcast DiaryApril

abc.net.au/classic

Tuesday 9 April, 1.05pmtotally tchaikovsky (2012)Vladimir Ashkenazy conductorGarrick Ohlsson pianoPiano Concerto No.2 (original version), Symphony No.4

Saturday 20 April, 1pmresurrection symphony (2011)Vladimir Ashkenazy conductorEmma Matthews sopranoMichelle DeYoung mezzo-sopranoSydney Philharmonia ChoirsMahler

Fine Music 102.5sydney symphony 2013Tuesday 9 April, 6pmMusicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

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Webcasts

Selected Sydney Symphony concerts are webcast live on BigPond and Telstra T-box and made available for later viewing On Demand. Our next webcast:cirque de la symphonieSaturday 20 April, 7pmVisit: bigpondmusic.com/sydneysymphonyLive webcasts can also be viewed on our free mobile app, now optimised for the iPad.

Sydney Symphony LiveThe Sydney Symphony Live label was founded in 2006 and we’ve since released more than a dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists, including the Mahler Odyssey cycle, begun in 2010. To purchase, visit sydneysymphony.com/shop

Glazunov & ShostakovichAlexander Lazarev conducts a thrilling performance of Shostakovich 9 and Glazunov’s Seasons. SSO 2

Strauss & SchubertGianluigi Gelmetti conducts Schubert’s Unfi nished and R Strauss’s Four Last Songs with Ricarda Merbeth. SSO 200803

Sir Charles MackerrasA 2CD set featuring Sir Charles’s fi nal performances with the orchestra, in October 2007. SSO 200705

Brett DeanBrett Dean performs his own viola concerto, conducted by Simone Young, in this all-Dean release. SSO 200702

RavelGelmetti conducts music by one of his favourite composers: Maurice Ravel. Includes Bolero. SSO 200801

Rare Rachmaninoff Rachmaninoff chamber music with Dene Olding, the Goldner Quartet, soprano Joan Rodgers and Vladimir Ashkenazy at the piano. SSO 200901

Sydney Symphony Online

Join us on Facebookfacebook.com/sydneysymphony

Follow us on Twittertwitter.com/sydsymph

Watch us on YouTubewww.youtube.com/SydneySymphony

Visit sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert.

Stay tuned. Sign up to receive our fortnightly e-newslettersydneysymphony.com/staytuned

Download our free mobile app for iPhone or Androidsydneysymphony.com/mobile_app

MAHLER ODYSSEY ON CDDuring the 2010 and 2011 concert seasons, the Sydney Symphony and Vladimir Ashkenazy set out to perform all the Mahler symphonies, together with some of the song cycles. The series is now complete and available in a boxed set.

Mahler 1 & Songs of a Wayfarer SSO 201001 Mahler 2 SSO 201203 Mahler 3SSO 201101 Mahler 4SSO 201102 Mahler 5SSO 201003 Mahler 6SSO 201103

Mahler 7SSO 201104 Mahler 8 (Symphony of a Thousand) SSO 201002 Mahler 9SSO 201201 Mahler 10 (Barshai completion)SSO 201202 Song of the EarthSSO 201004

From the archives: Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde SSO 201204

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Reinhard Goebel CONDUCTOR

Reinhard Goebel is best known to audiences as the founder of the renowned early music ensemble Musica Antiqua Cologne, and has since established himself as a highly regarded conductor of modern orchestras.

He was born in 1952 and received his fi rst violin lessons at the age of 12. He quickly developed an exclusive interest in early music and historical performance practice and in 1973 he founded Musica Antiqua Cologne. A signifi cant milestone was the signing of the group with Deutsche Grammophon’s Archiv Produktion label in 1978, and this consolidated his status as one of Europe’s most important exponents of early music, especially as an authority in German Baroque repertoire. His many recordings with the group set high artistic standards and received some of the world’s most prestigious awards, including Gramophone Awards and the Diapason d’Or. He remains active in the early music scene, and has taught as a professor of historically informed performance at the Mozarteum Salzburg since 2010.

As a conductor of symphony orchestras, Reinhard Goebel has performed with the Royal Philharmonic Orchestra, Tonhalle-Orchester Zürich, Orchestra of the Royal Opera Copenhagen, Orchestra di Padova e del Veneto, Orchestre National d’Île de France, Deutsches Symphonieorchester Berlin, Leipzig Gewandhaus Orchestra, Dresden Philharmonic and Staatskapelle, Munich and Zurich Chamber Orchestras, Hamburg Symphony Orchestra, Budapest Festival Orchestra, Vienna Chamber Orchestra and the major German radio orchestras. Outside Europe he has conducted the Taipei Symphony in Taiwan and the Grand Teton Festival Orchestra in Wyoming, as well as making his Australian guest conducting debut with the Melbourne Symphony Orchestra in 2009, returning in 2011 and 2012.

In January this year he conducted the Sibelius Academy in Helsinki and presented the complete Brandenburg concertos by Johann Sebastian Bach. This is Reinhard Goebel’s Sydney Symphony debut.

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ABOUT THE ARTISTS

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Mirijam Contzen plays a Carlo Bergonzi violin from 1733.

Mirijam Contzen VIOLIN

Mirijam Contzen’s talent was discovered by the Hungarian violinist Tibor Varga when he heard her perform a Mozart violin concerto – her orchestral debut – at the age of seven. He became her teacher and mentor, preparing her for an international career.

In 2001 she won the ECHO Klassik Prize in the Rising Stars category and she has since performed with leading orchestras worldwide, including the Helsinki Philharmonic, Royal Liverpool Philharmonic Orchestra, Orchestre de la Suisse Romande, Leipzig Gewandhaus Orchestra, Konzerthaus Orchestra Berlin, Bamberg Symphony Orchestra, Radio Symphony Orchestra Frankfurt, Munich Chamber Orchestra, and in Australia with the Sydney and Melbourne symphony orchestras. She has collaborated with conductors such Gerd Albrecht, Dennis Russell Davies, Christopher Hogwood, Eliahu Inbal, Bobby McFerrin, Michael Sanderling and Leif Segerstam, and performed in some of the world’s leading concert halls and at music festivals around the globe.

Chamber music plays an important role in Mirijam Contzen’s concert life, and she has performed with Pierre-Laurent Aimard, Emmanuel Ax, Joshua Bell, Natalia Gutman, Clemens Hagen, Janine Jansen, Leonidas Kavakos, Mischa Maisky and Herbert Schuch, among others. In 2005 she founded the chamber music festival Schloss Cappenberg.

Recent highlights include performances of all the Mozart violin concertos under the baton of Reinhard Goebel with both the Folkwang Chamber Orchestra and the Bavarian Chamber Philharmonic. This year she will also perform with the Vienna Concert Society under Vladimir Fedosejev at the Haydn festival in Eisenstadt. Mirijam Contzen has made numerous recordings, most recently releasing a disc of Hindemith and Heucke violin sonatas with pianist Tobias Bredohl.

Mirijam Contzen made her Australian debut in 2006, performing a Mozart concerto and Ravel’s Tzigane with the Sydney Symphony.

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To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musiciansIf you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

The men of the Sydney Symphony are proudly outfitted by Van Heusen.

FIRST VIOLINS

Sun Yi Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Georges LentzNicola LewisAlexandra MitchellAlexander NortonClaire Herrick°Emily Qin°Dene Olding Concertmaster

Kirsten Williams Associate Concertmaster

Julie BattyJennifer BoothMarianne BroadfootBrielle ClapsonSophie ColeAmber DavisJennifer HoyLéone Ziegler

SECOND VIOLINS

Alexander Read Emma Jezek Assistant Principal

Maria DurekEmma HayesShuti HuangBiyana RozenblitKirsty Hilton Marina Marsden Susan Dobbie Principal Emeritus

Stan W KornelBenjamin LiEmily LongNicole MastersPhilippa PaigeMaja Verunica

VIOLAS

Tobias Breider Robyn BrookfieldJane HazelwoodGraham HenningsStuart JohnsonNicole Greentree†

Roger Benedict Anne-Louise Comerford Justin Williams Assistant Principal

Sandro CostantinoJustine MarsdenFelicity Tsai

CELLOS

Catherine Hewgill Fenella GillTimothy NankervisAdrian WallisLeah Lynn Assistant Principal

Kristy ConrauElizabeth NevilleChristopher PidcockDavid Wickham

DOUBLE BASSES

Kees Boersma David CampbellRichard LynnAlex Henery Neil Brawley Principal Emeritus

Steven LarsonDavid MurrayBenjamin Ward

FLUTES

Janet Webb Carolyn HarrisEmma Sholl Rosamund Plummer Principal Piccolo

OBOES

Shefali Pryor Alexandre Oguey Principal Cor Anglais

Diana Doherty David Papp

CLARINETS

Lawrence Dobell Francesco Celata Christopher TingayCraig Wernicke Principal Bass Clarinet

BASSOONS

Matthew Wilkie Fiona McNamaraRoger Brooke Noriko Shimada Principal Contrabassoon

Jack Schiller†

HORNS

Ben Jacks Geoffrey O’Reilly Principal 3rd

Robert Johnson Euan HarveyMarnie Sebire

TRUMPETS

Paul Goodchild Anthony HeinrichsPaul Terracini*David Elton John Foster

TROMBONES

Ronald Prussing Scott Kinmont Nick ByrneChristopher Harris Principal Bass Trombone

TUBA

Steve Rossé

TIMPANI

Richard Miller

PERCUSSION

Rebecca Lagos Colin PiperMark Robinson

HARP

Louise Johnson

HARPSICHORD

Marta Dotkus*

Bold = PrincipalItalics = Associate Principal° = Contract Musician* = Guest Musician† = Sydney Symphony FellowGrey = Permanent member of the Sydney Symphony not appearing in this concert

MUSICIANS

Vladimir AshkenazyPrincipal Conductor and Artistic Advisor supported by Emirates

Dene OldingConcertmaster

Jessica CottisAssistant Conductor supported by Premier Partner Credit Suisse

sydney symphony 25

SYDNEY SYMPHONYVladimir Ashkenazy, Principal Conductor and Artistic AdvisorPATRON Her Excellency Professor Marie Bashir AC CVO

Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony has evolved into one of the world’s fi nest orchestras as Sydney has become one of the world’s great cities.

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, most recently in the 2012 tour to China.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. David Robertson will take up the post of Chief Conductor in 2014. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The orchestra promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Liza Lim, Lee Bracegirdle, Gordon Kerry and Georges Lentz, and the orchestra’s recording of works by Brett Dean was released on both the BIS and Sydney Symphony Live labels.

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. In 2010–11 the orchestra made concert recordings of the complete Mahler symphonies with Ashkenazy, and has also released recordings of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on the ABC Classics label.

This is the fi fth year of Ashkenazy’s tenure as Principal Conductor and Artistic Advisor.

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BEHIND THE SCENES

MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC ADMINISTRATION MANAGER

Eleasha MahARTIST LIAISON MANAGER

Ilmar LeetbergRECORDING ENTERPRISE MANAGER

Philip Powers

Education ProgramsHEAD OF EDUCATION

Kim WaldockEMERGING ARTISTS PROGRAM MANAGER

Mark LawrensonEDUCATION COORDINATOR

Rachel McLarinCUSTOMER SERVICE OFFICER

Derek Reed

LibraryLIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertORCHESTRA MANAGER

Chris Lewis ORCHESTRA COORDINATOR

Georgia StamatopoulosOPERATIONS MANAGER

Kerry-Anne CookPRODUCTION MANAGER

Laura DanielPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Elise Beggs

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J ElliottSENIOR SALES & MARKETING MANAGER

Penny EvansMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesMARKETING MANAGER, CLASSICAL SALES

Matthew RiveMARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le GallMARKETING MANAGER, DATABASE & CRM

Matthew Hodge

John C Conde ao ChairmanTerrey Arcus amEwen Crouch amRoss GrantJennifer HoyRory JeffesAndrew Kaldor amIrene LeeDavid LivingstoneGoetz Richter

Sydney Symphony Board

Sydney Symphony StaffDATA ANALYST

Varsha KarnikGRAPHIC DESIGNER

Lucy McCulloughCREATIVE ARTWORKER

Nathanael van der ReydenMARKETING COORDINATOR

Jonathon Symonds ONLINE MARKETING COORDINATOR

Jenny Sargant

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR

Jacqueline TooleyBOX OFFICE BUSINESS ADMINISTRATOR

John RobertsonCUSTOMER SERVICE REPRESENTATIVES

Steve Clarke – Senior CSRMichael DowlingSarah MorrisbyAmy Walsh

COMMUNICATIONS

HEAD OF COMMUNICATIONS & SPONSOR RELATIONS

Yvonne ZammitPUBLIC RELATIONS MANAGER

Katherine StevensonCOMMUNICATIONS COORDINATOR

Janine Harris FELLOWSHIP SOCIAL MEDIA OFFICER

Caitlin Benetatos

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

DEVELOPMENT

DIRECTOR OF DEVELOPMENT

Caroline SharpenEXTERNAL RELATIONS MANAGER

Stephen AttfieldPHILANTHROPY, PATRONS PROGRAM

Ivana JirasekDEVELOPMENT MANAGER

Amelia Morgan-Hunn

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Emma FerrerPAYROLL OFFICER

Laura Soutter

HUMAN RESOURCES

HEAD OF HUMAN RESOURCES

Michel Maree Hryce

Sydney Symphony Council

Geoff Ainsworth amAndrew Andersons aoMichael Baume aoChristine BishopIta Buttrose ao obePeter CudlippJohn Curtis amGreg Daniel amJohn Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obeDr Michael Joel amSimon JohnsonYvonne Kenny amGary LinnaneAmanda LoveHelen Lynch amDavid MaloneyDavid Malouf aoJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews aoDanny MayWendy McCarthy aoJane MorschelGreg ParamorDr Timothy Pascoe amProf. Ron Penny aoJerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofield amFred Stein oamGabrielle TrainorIvan UngarJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White

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SYDNEY SYMPHONY PATRONS

Sydney Symphony Leadership EnsembleAlan Fang, Chairman, Tianda GroupTony Grierson, Braithwaite Steiner PrettyInsurance Australia Grou pMacquarie Group FoundationJohn Morschel, Chairman, ANZAndrew Kaldor am, Chairman, Pelikan Artline

Lynn Kraus, Sydney Office Managing Partner, Ernst & YoungShell Australia Pty LtdJames Stevens, CEO, Roses OnlyStephen Johns, Chairman, Leighton Holdings,

and Michele Johns

Maestro’s CirclePeter William Weiss ao – Founding President & Doris WeissJohn C Conde ao – ChairmanGeoff Ainsworth am & Vicki Ainsworth Tom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor am & Renata Kaldor aoRoslyn Packer ao

Penelope Seidler amMr Fred Street am & Mrs Dorothy StreetWestfield GroupBrian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

01 Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair

02 Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus am Chair

03 Diana Doherty Principal Oboe Andrew Kaldor am & Renata Kaldor ao Chair

04 Richard Gill oam Artistic Director Education Sandra & Paul Salteri Chair

05 Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair

06 Robert Johnson Principal Horn James & Leonie Furber Chair

07 Elizabeth Neville Cello Ruth & Bob Magid Chair

08 Colin Piper Percussion Justice Jane Mathews ao Chair

09 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

For information about the Directors’ Chairs program, please call (02) 8215 4619.

Directors’ Chairs

01 02 03 04 05

06 07 08 09

Sydney Symphony VanguardVanguard CollectiveJustin Di Lollo – ChairKees BoersmaMarina GoDavid McKeanAmelia Morgan-HunnJonathan PeaseSeamus R Quick

Matthew ClarkBenoît CocheteuxGeorge CondousMichael CookPaul CousinsJustin Di LolloRose GalloAlistair GibsonSam GiddingsMarina GoSebastian GoldspinkDerek HandRose HercegPaolo Hooke

MembersCentric WealthMatti AlakargasNikki AndrewsJames ArmstrongStephen AttfieldAndrew BaxterMar BeltranKees Boersma Peter BraithwaiteAndrea BrownIan BurtonJennifer BurtonHahn ChauRon Christianson

Peter OutridgeJulia OwensArchie PaffasJonathan Pease Seamus R QuickMichael ReedeEmma RodigariJacqueline RowlandsBernard RyanAdam WandJon WilkieJonathan WatkinsonDarren WoolleyMisha Zelinsky

Peter HowardJennifer Hoy Damian Kassagbi Chris KeherElizabeth LeeAntony Lighten Gary LinnanePaul MacdonaldDavid McKeanHayden McLeanAmelia Morgan-HunnTaine MoufarrigeHugh MunroFiona Osler

28 sydney symphony

PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Donations of $50 and above are acknowledged on our website at www.sydneysymphony.com/patrons

Platinum Patrons $20,000+Brian AbelRobert Albert ao & Elizabeth AlbertGeoff AinsworthTerrey Arcus am & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsMr John C Conde aoRobert & Janet ConstableMichael Crouch ao & Shanny CrouchJames & Leonie FurberDr Bruno & Mrs Rhonda Giuff reIn memory of Hetty & Egon GordonMr Andrew Kaldor am & Mrs Renata Kaldor aoD & I KallinikosJames N Kirby FoundationThe late Joan MacKenzieVicki OlssonMrs Roslyn Packer aoPaul & Sandra SalteriMrs Penelope Seidler amG & C Solomon in memory of Joan MacKenzieMrs W SteningMr Fred Street am & Mrs Dorothy StreetPeter William Weiss ao & Doris WeissWestfi eld GroupMr Brian & Mrs Rosemary WhiteKim Williams am & Catherine DoveyRay Wilson oam in memory of James Agapitos oam

Gold Patrons$10,000–$19,999Stephen J BellAlan & Christine BishopIan & Jennifer BurtonHoward ConnorsCopyright Agency Cutlural Fund Edward FedermanNora GoodridgeMr Ross GrantThe Estate of the late Ida GuggerHelen Lynch am & Helen BauerRuth & Bob MagidJustice Jane Mathews aoThe Hon. Justice AJ Meagher & Mrs Fran MeagherMrs T Merewether oamMr B G O’ConorHenry & Ruth WeinbergJune & Alan Woods Family Bequest

Silver Patrons $5000–$9,999Doug & Alison BattersbyMr Robert BrakspearMr David & Mrs Halina BrettMr Robert & Mrs L Alison Carr Bob & Julie ClampettIan Dickson & Reg HollowayDr C GoldschmidtThe Greatorex Foundation Mr Rory Jeff esJudges of the Supreme Court of NSW Mr Ervin KatzThe Estate of the late Patricia LanceTimothy & Eva PascoeWilliam McIlrath Charitable FoundationRodney Rosenblum am & Sylvia RosenblumManfred & Linda SalamonMrs Joyce Sproat & Mrs Anna CookeMichael & Mary Whelan TrustCaroline WilkinsonAnonymous (1)

Bronze Patrons $2,500–$4,999Ewen Crouch am & Catherine CrouchThe Hon. Ashley Dawson-DamerFirehold Pty LtdStephen Freiberg & Donald CampbellVic & Katie FrenchMrs Jennifer HershonMichael & Anna JoelGary LinnaneMatthew McInnesJ A McKernanR & S Maple-BrownRenee MarkovicMora MaxwellJames & Elsie MooreDrs Keith & Eileen OngIn memory of Sandra Paul PottingerDr John Roarty oam in memory of Mrs June RoartyIn memory of H St P ScarlettJulianna Schaeff erDavid & Isabel SmithersMarliese & Georges TeitlerMr & Mrs T & D YimAnonymous (2)

Bronze Patrons $1,000–$2,499Mrs Antoinette AlbertAndrew Andersons aoMr Henri W Aram oamDr Francis J AugustusRichard and Christine Banks David BarnesNicole BergerAllan & Julie BlighDr & Mrs Hannes Boshoff Jan BowenLenore P BuckleM BulmerIn memory of RW BurleyIta Buttrose ao obeJoan Connery oam & Maxwell Connery oamConstable Estate Vineyards Debby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamGreta DavisLisa & Miro DavisMatthew DelaseyMr & Mrs Grant DixonColin Draper & Mary Jane BrodribbMrs Margaret EppsMr Ian Fenwicke & Prof. Neville WillsMr James Graham am & Mrs Helen GrahamWarren GreenAnthony Gregg & Deanne WhittlestonAkiko GregoryTony GriersonEdward & Deborah Griffi nRichard Griffi n amIn memory of Dora & Oscar GrynbergJanette HamiltonMichelle HiltonThe Hon. David Hunt ao qc & Mrs Margaret HuntDr & Mrs Michael HunterIn memory of Bernard M H KhawMr Justin LamMr Peter Lazar amIrene LeeAssociate Professor Winston LiauwDr David LuisCarolyn & Peter Lowry oamDeirdre & Kevin McCannIan & Pam McGawMacquarie Group Foundation

sydney symphony 29

To find out more about becominga Sydney Symphony Patron, pleasecontact the Philanthropy Officeon (02) 8215 4625 or emailphilanthropy@sydneysymphony.com

Ms Jackie O’BrienJF & A van OgtropMr & Mrs OrtissMr Andrew C PattersonPiatti Holdings Pty LtdAndy & Deirdre Plummer Robin PotterErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment Pty LtdCaroline SharpenDr Agnes E SinclairCatherine StephenJohn & Alix SullivanThe Hon. Brian Sully qcMildred TeitlerJohn E TuckeyMrs M TurkingtonIn memory of Joan & Rupert VallentineDr Alla WaldmanMr Robert & Mrs Rosemary WalshAnn & Brooks Wilson amDr Richard WingMr R R WoodwardIn memory of Lorna WrightDr John YuAnonymous (9)

Bronze Patrons $500–$999Mrs Lenore AdamsonMr & Mrs Garry S AshBarlow Cleaning Pty LtdBeauty Point Retirement ResortMrs Margaret BellMinnie BiggsMrs Jan BiberDr Anthony BookallilR D & L M BroadfootArnaldo BuchAnn & Miles BurgessPat & Jenny BurnettThe Hon. Justice JC & Mrs CampbellDr Rebecca ChinMrs Sarah ChissickMrs Catherine J ClarkR A & M J ClarkeMr & Mrs Coates

Coff s Airport Security Car ParkMr B & Mrs M ColesMrs Joan Connery oamJen CornishMr David CrossPhil Diment am & Bill Zafi ropoulosElizabeth DonatiThe Dowe FamilyJohn FavaloroMalcolm Ellis & Erin O’NeillIn memory of Peter EverettMr Tom FrancisMr John GadenVivienne GoldschmidtClive & Jenny GoodwinHarry & Meg HerbertSue HewittDorothy Hoddinott aoMr Joerg HofmannMrs Kimberley HoldenMr Gregory HoskingNiki KallenbergerMrs Margaret KeoghDr Henry KilhamChris J KitchingAnna-Lisa KlettenbergSonia LalMr Luigi LampratiDr & Mrs Leo LeaderMargaret LedermanErna & Gerry Levy amSydney & Airdrie LloydMrs A LohanMrs Panee LowDr David LuisPhilip & Catherine McClellandMelvyn MadiganAlan & Joy MartinMrs Toshiko MericMs Irene Miller & Ms Kim HardingP J MillerDavid MillsKenneth N MitchellMs Margaret Moore oam & Dr Paul Hutchins amChris Morgan-HunnMrs Milja MorrisA Nhan

Mr Graham NorthDr Mike O’Connor amMr R A OppenOrigin FoundationDr A J PalmerDr Kevin PedemontDr Natalie E PelhamMichael QuaileyRenaissance ToursAnna RoLesley & Andrew RosenbergMrs Pamela SayersGarry Scarf & Morgie BlaxillPeter & Virginia ShawMrs Diane Shteinman amMs Stephanie SmeeMs Tatiana SokolovaDoug & Judy SotherenMrs Judith SouthamMrs Karen Spiegal-KeighleyMargaret SuthersNorman & Lydia TaylorDr Heng Tey & Mrs Cilla TeyMrs Alma Toohey & Mr Edward SpicerKevin TroyGillian Turner & Rob BishopProf Gordon E WallMrs Margaret WallisRonald WalledgeMs Elizabeth WilkinsonAudrey & Michael WilsonA Willmers & R PalDr Peter Wong & Mrs Emmy K WongGeoff Wood & Melissa WaitesGlen & Everly WyssMrs Robin YabsleyAnonymous (22)

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D O Y O U H A V E A S T O R Y T O

T E L L ?

30 sydney symphony

SALUTE

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

The Sydney Symphony is assisted by the NSW Government through Arts NSW

PREMIER PARTNER

Fine Music 102.5

MARKETING PARTNER

GOLD PARTNERS

REGIONAL TOUR PARTNERS

SILVER PARTNERS

executive search

EDUCATION PARTNER MAJOR PARTNERS

PLATINUM PARTNERS

…our section needs to play louder than the first violins

Orchestra, which means that I go back to work with them four times a year.’ Combined with her job in the Sydney Symphony, that means almost no time for holidays! ‘It doesn’t matter, because I’m so restless – the change feels like a holiday.’

Though initially appointed Associate Concertmaster with the Sydney Symphony, Kirsty soon made the switch to leading the second violins. ‘I like playing the inner parts, and sitting in the middle of the orchestra. I don’t like being stuck physically on the edge of the stage.’

Ironically, the challenges for the second violins are inherent in where that section sits, and the musical material they have to play. ‘Really, our section needs to play louder than the first violins,’ explains Kirsty. Depending on the string section’s configuration, the Seconds are either tucked in behind the first violins, or seated antiphonally (on the opposite side of the conductor’s podium), with their instruments facing away from the audience. Either way, they need to ‘beef it up’. ‘The firsts often rely on us because we’ll be playing the motor semiquavers,’ explains Kirsty. Occasionally, there might be disagreement within the ensemble about where to play. ‘It’s tricky because we don’t often have the melody. We have to decide in a split second about whether to follow the cellos, or the firsts.’

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Kirsty Hilton loves where she lives. Nicknamed the ‘Rose Bay Hilton’ by friends, her apartment allows her – and her guests! – to live near the harbour. ‘I really missed not being by the water all those years I was in Europe,’ she says. ‘All those years’ included a period of study in London with David Takeno, followed by admis-sion into the prestigious Karajan Academy in Berlin. ‘That was my most intense study time,’ says Kirsty. ‘We had to play almost every week with the Berlin Phil-harmonic, and four times a year we’d give a big chamber music

concert in the Berliner Philhar-monie.’

Kirsty was soon appointed to the Bavarian Radio Symphony Orchestra. ‘[Mariss] Jansons is my favourite conductor from my time in Munich. He always had time for you personally, even though he could seem quite shy and distant. And he would always give 100 per cent in rehearsal and in concert.’

A touch homesick, Kirsty returned to Sydney in 2007. These days, however, she still divides her time between Australia and Europe: ‘I have a 50 per cent position with the Mahler Chamber

POCKET ROCKETDiminutive in stature but with towering international orchestral experience, for second violin principal Kirsty Hilton, it’s all about location, location, location.

ORCHESTRA NEWS | MARCH–APRIL 2013

with Damien Beaumont Vienna – Dresden – Berlin – Cologne – Paris24 May–9 June 2013 (17 days)

Experience the great orchestras of Europe on this wonderful musical odyssey from Vienna to Paris, including the Vienna and Berlin Philharmonics, and Amsterdam’s Royal Concertgebouw!

Great Orchestras of Europe

For detailed information call 1300 727 095 visit www.renaissancetours.com.auor contact your travel agent

Sir Simon Rattle with the Berlin Philharmonic © Monika Rittershaus

Artistic HighlightIntroducing S. Katy Tucker

Come July, Chief Conductor designate David Robertson will embark on his annual opera-in-concert series, with a semi-staged performance of Wagner’s Flying Dutchman. For this project, there will be a new face in the house with a very important role to play.

‘I don’t have any musical talent,’ says S. Katy Tucker. ‘But I do have a deep, deep love of music that I can connect with in an unconventional way through video projections.’

Katy has been engaged to create a dramatic environment for the orchestra and soloists for our performances of Wagner’s first great opera. She’ll do this through the projection of images and abstractions on a large screen, cut to resemble the sails of a square-rigger. ‘We want to make the performance of Dutchman more “splashy”.’ Touché.

Katy describes her projections as holistic. ‘It’s up to me to balance the attention and focus of the audience. I don’t want my visuals to compete with, or detract from, the music.’

skatytucker.com

Every concert we see the ‘crew in black’ busily preparing the stage for the performance and shifting instruments and gear around between pieces. But what do they do behind the scenes?

Production preparations are a team effort, and begin the moment the orchestra’s roster is released, which can be 6 to 16 months before a concert. The production manager first liaises with the artistic team, technical suppliers, venues and musicians (in particular percussion!), who together identify every item needed for a program. In the case of a concert like Lord of the Rings: The Return of the King, that might include a screen, projector, audio system, sconce lights, and of course instruments – bodrums, taiko drums, and cimbalom anyone?

When the ‘bump-in’ day arrives the production manager, stage manager and two production coordinators implement the set-up. With rehearsals underway, the stage manager monitors the comfort and safety of everyone on stage, through a window at side of stage, and via a ‘spy mike’ near the conductor. The production team needs to react to a variety of situations; from replacing a chair (easy!), to attending to a medical emergency (scary!). The SM will also call all performers to the stage, make front of house announcements (‘Ladies and Gentlemen, welcome to tonight’s performance by the Sydney Symphony…’), monitor sound levels on stage, and time the length of movements for broadcast planning.

Key to the entire production team is an ability to multi-task and to communicate effectively with a broad range of personalities. From musicians to soloists, conductors to technical crew, everyone involved has their own needs (and occasionally demands!), which need to be met in a calm, cool-headed, and friendly way.

Have a question about the music, instruments, or inner workings of the orchestra? ‘Ask a Musician’ at yoursay@sydneysymphony.com or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

Ask a Musician

Playing FavouritesAsk Vladimir Ashkenazy outright about his favourite composers or musical works and the response is usually tactfully non-commit-tal: ‘How could I possibly name one? – they are all so great!’ Genuinely awed by the wonder of musical creation, he comes across like an unswervingly fair parent – refusing to play favourites.

But, of course, there are com-posers and pieces that are close to his heart, that make his eyes light up, that prompt him to en thusiastic discussion and wonderful anecdotes. And he has chosen three such works for the second of his programs in May.

There’s Russian romanticism in Tchaikovsky’s Romeo and Juliet – the heartfelt storytelling that Ashkenazy does so well. And there’s elegant neoclassicism in the form of Richard Strauss’s late oboe concerto, with soloist Hansjörg Schellenberger. But the real highlight is Walton’s First Symphony.

The choice of an English sym-phony might seem unexpected, until you remember Ashkenazy’s Elgar festival in 2008, when Russian and English sensibilities met to powerful effect. ‘I love Walton’s First,’ says Ashkenazy, ‘it’s an absolute favourite.’ The appeal is in its ‘tremendous energy’ and Walton’s distinctive style – nostalgic sometimes, but spirited and colourful. And the anecdote? Stay tuned for the story of the trumpet solo…

Ashkenazy’s FavouritesMaster Series 15, 17, 18 May | 8pm

The Score

TRUE GRITEducation Focus

mentoring and have the opportun- ity of working with a professional orchestra. This combination en- sures that we’ll all come out of the program as musically balanced, ex- perienced and inspired individuals.’

The continued support from premier partner Credit Suisse, as well as from individual donors, has ensured the quality of training our Fellows receive, and helped the Fellowship program reach its 12th year. Testament to the program’s success are the achievements of its alumni, with well over half employed in full-time orchestral positions, including seven past Fellows who are now members of the Sydney Symphony itself. Previous Fellows also include violinist Jane Piper, who is now a full-time member of the Royal Concertgebouw Orchestra, which is touring Australia later this year.

For violinist Kelly Tang, earning a place in the Fellowship program has been her confirma-tion that her career in music is on the right track. ‘I’ve known that I’ve wanted to be a musician from the age of five. Achieving a place in the Fellowship has made me even more determined and now I can’t imagine doing anything else that I love this much!’ CB

Follow the Fellows on their journey this year: blog.ssofellowship.com

Hundreds of graduate musicians across the country dream of per-forming in professional orchestras. Despite this, full-time orches tral positions are rare and competition is fierce. But for the eight young musicians selected for this year’s Sydney Symphony Fellowship program, that dream is much closer to becoming reality.

‘I was so excited when I heard I’d been accepted into the 2013 Fellowship!’ said viola Fellow Nicole Greentree, at their first get-together this year. ‘I keep thinking about how much I’m going to learn from working with the Sydney Symphony.’

Chosen from nearly 300 appli-cants nation-wide, the Fellows rep-resent the most talented emerg ing musicians of their generation. But in order to develop into well- rounded professionals, these young musicians require skills and ex peri- ences that cannot be taught in an academic environment. The pur- pose of the Fellowship program is to provide these musicians with the training and mentoring they need to bridge the divide between student and professional.

For horn Fellow Brendan Parra- vicini, originally from Perth, it’s the diversity of the program that makes it so valuable. ‘We’ll perform chamber music together on a regu- lar basis, benefit from individual

From left: Brendan Parravicini, Nicole Greentree, Som Howie, James sang-oh Yoo, Rebecca Gill, Laura van Rijn, Kelly Tang, Jack Schiller

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Eight young musicians on the cusp of musical careers have secured a place in the Sydney Symphony’s hotly contested Fellowship program.

APP-TASTIC!Our Sydney Symphony app has hit 9,000 downloads across 51 countries. If you haven’t tried it yet, why not down- load to watch videos, listen to music and watch live webstreams – all free, and all on your mobile! Visit the iTunes store, or Google Play to download for Android.

PROGRAM BOOKS ON THE RUNYou can pick up a free program book at nearly every concert we give. But did you know you can also download our programs in advance? For one-stop downloading, bookmark sydney symphony.com/program_library and read the program on your desktop computer or mobile device.

HONOUREDIn February our principal conductor, Vladimir Ashkenazy, was awarded the Honorary Degree of Doctor of Music by the University of Leicester. He is in good company: other recipients include Benjamin Britten, Michael Tippett, Malcolm Arnold, John Barbirolli and Colin Davis. Bravo maestro!

HAPPY BIRTHDAY VANGUARDThe Sydney Symphony Vanguard – our membership program for Gen X/Y philanthropists – celebrates its first birthday in March. The program has paired hip-hop dancer Nacho Pop with classical musicians, created a percussion-only performance zone in a Kings Cross car park, and more, and it has attracted 75 members so far. Sound interesting? Contact Amelia Morgan-Hunn on 02 8215 4663 for more info.

WOLGAN WONDERSThose in search of a special weekend destination might be interested to hear about the Sydney Symphony’s new involvement with Emirates Wolgan Valley Resort and Spa. The first weekend in March saw several of our musicians travel off the beaten track, past the upper Blue Mountains, for the inaugural Sydney Symphony chamber music weekend at Australia’s only six-star resort. Guests were treated to four concerts, including one by the Sydney Symphony Brass Ensemble in which the audience – armed with balloons, paper bags, pots and pans – accompanied a quintet arrangement

of Tchaikovsky’s 1812 Overture, to great delight! We hope this new mini festival of music will become a regular feature of the Wolgan Valley calendar.

ON THE ROADThe Sydney Symphony hits the road in May for two residencies in Canberra and Albury. Associate Conductor Jessica Cottis will lead our merry band of musicians in a series of schools concerts and outreach activities, as well as evening performances. The repertoire will delight young and old, with music from Handel’s Water Music suites, selections from Stravinsky’s Pulcinella and Beethoven’s Pastoral Symphony.

CANBERRA Llewellyn Hall, ANU School of Music Wed 22 May – 7.30pm concert Thu 23 May – Primary and secondary schools concerts

ALBURY Albury Entertainment Centre Fri 24 May – Primary and secondary schools concerts Sat 25 May – 8pm concert

CODA

BRAVO EDITOR Genevieve Lang sydneysymphony.com/bravoCONTRIBUTOR Caitlin Benetatos

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Mr Wesley Enoch,Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Mr Peter Mason AM,Dr Thomas Parry AM, Mr Leo Schofi eld AM, Mr John Symond AM

EXECUTIVE MANAGEMENTChief Executive Offi cer Louise HerronExecutive Producer SOH Presents Jonathan BielskiDirector, Theatre and Events David ClaringboldDirector, Marketing, Communications and Director, Customer Services Victoria DoidgeBuilding Development and Maintenance Greg McTaggartDirector, Venue Partners and Safety Julia PucciChief Financial Offi cer Claire Spencer

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